In this pleasant documentary, historian Lucy Worsley introduces the viewer to a variety of ravishing opera houses all over Europe. While doing so she discusses opera's historic power to move and to inspire, often on a grand scale. She also sketches the cultural and political context behind some of the world's best-known works, such as Verdi's "Nabucco" or Bizet's "Carmen". Meanwhile Antonio Pappano explains the musical factors that turn this aria or that into a memorable triumph.
Now I'm a Belgian and around here every schoolchild learns the tale about the Belgian revolution, which was precipitated by riots breaking out during a performance of Auber's "La muette de Portici". Things were more complicated than that, but still : as a national origin story this is quite posh, conjuring up visions of gilt angels and marble columns. In order to honor this fine episode we ought to encourage our Prime Ministers to drink champagne out of ladies' slippers, to toss gold coins out of carriages and to die young in a duel over the favors of some raven-haired cocotte.
But back to our subject. I thought that the documentary, while pretty enjoyable, played things too safe by focusing only on world-famous works by world-famous composers. Why not try to revive interest in a few semi-forgotten works by underappreciated composers ?
You'll notice how Part 2 of the documentary includes an excerpt of a modern-day performance of "Salome" by Strauss. This production features a naked, bloodstained man playing the part of a royal executioner. (Presumably someone somewhere thought that an opera about a perverted teenager making love to the severed head of an executed prophet needed a bit of spicing up.) I don't know about you, but personally I would advise all executioners to wear clothes while working. No working environment rich in sharp axes and sizzling pokers should be approached without protective gear.
Now I'm a Belgian and around here every schoolchild learns the tale about the Belgian revolution, which was precipitated by riots breaking out during a performance of Auber's "La muette de Portici". Things were more complicated than that, but still : as a national origin story this is quite posh, conjuring up visions of gilt angels and marble columns. In order to honor this fine episode we ought to encourage our Prime Ministers to drink champagne out of ladies' slippers, to toss gold coins out of carriages and to die young in a duel over the favors of some raven-haired cocotte.
But back to our subject. I thought that the documentary, while pretty enjoyable, played things too safe by focusing only on world-famous works by world-famous composers. Why not try to revive interest in a few semi-forgotten works by underappreciated composers ?
You'll notice how Part 2 of the documentary includes an excerpt of a modern-day performance of "Salome" by Strauss. This production features a naked, bloodstained man playing the part of a royal executioner. (Presumably someone somewhere thought that an opera about a perverted teenager making love to the severed head of an executed prophet needed a bit of spicing up.) I don't know about you, but personally I would advise all executioners to wear clothes while working. No working environment rich in sharp axes and sizzling pokers should be approached without protective gear.
